CIHA 2016 in Beijing
34th World Congress of Art HistoryAbout History Press Release Sessions Schedule Activities Participants Venue Discussion Registration Closed
Sessions Download PDF
Session 2 The Rank of Art
Session 3 Imagination and Projection
Session 4 Appreciation and Utility
Session 5 Self-Awareness or Self-Affirmation
Session 6 Politics of Identity: Tradition and Origin
Session 7 Translation and Change
Session 8 Art and Taboo
Session 9 Autonomy and Elusion
Session 10 Gendered Practices
Session 11 Landscape and Spectacle
Session 12 Garden and Courtyard
Session 13 Transmission and Adoption
Session 14 The Other and the Foreign: Contact, Curiosity, and Creative Exchange
Session 15 Creative Misunderstanding
Session 16 Commodity and Market
Session 17 Display
Session 18 Media and Visuality
Session 19 History of Beauty vs. History of Art
Session 20 Professional Education and Aesthetic Education
Session 21 Connecting Art Histories and World Art
A renaissance affirmation in Belgium’s fin de siècle
Non-Avantgardist Conceptions of Experimentation
de Bosio, Stefano
A Distinctive Stimmung: Wölfflin and Kandinsky on Image Lateral Reversal and Pictorial Order
唐代绘画品评理论的发展 Development of Ranking Theory on Painting of Tang Dynasty
Filming the Sistine Chapel: the multiple Michelangelos
A Pile of Bricks? Pedro Costa’s Juventude en Marcha, labour, and the museal space
Corporate art collection as an intersection of values in art and values in business
Ranking Contemporary Art: A Cartesian coordinate system and the ‘other’ dimension
The Rise and Fall of Early Soviet Satirical Art: Context and Historiography
This session explores parameters behind the value of art, asking how different value systems are promoting artworks or preventing them from being seen, appreciated or taken seriously. The session investigates evaluation, judgment, categorization and interpretation of artworks out of different ideological and cultural preferences, and consequences of these preferences. The session is providing critical insight into how different value systems affect relationships between artworks, artists and audiences.
The purpose of the session is to encourage different views and positions in relation to the rank of art. The session will present well-studied comparative and case studies, focusing on parameters such as center and periphery, highbrow and lowbrow, old and new, familiarity and strangeness, equal and unequal, permission and taboo, laughable and non-laughable, and art and non-art. The session pays attention to changing and shifting parameters, their static and dynamic qualities, and the introduction of new parameters.
We present a frame of four subject areas to be taken into consideration when preparing a proposal:
1) Evaluation criteria within different social and cultural settings:
Evaluation criteria of art varyaccording to time and society. There are external and internal factors intertwining with each other and co-influencing the making and reflection of art. Internal factors center on aesthetic aspects of artistic production, meanwhile external factors focus on relationships between art and other spheres of culture and society, such as historical, social, ideological, economic and scientific circumstances.
2) Transformation of value systems under conflicts and sudden change:
Conflicts and abrupt changes in society can lead to confusion and quick transformations concerning evaluation criteria of art. The subject explores transformations of criteriaof art under the influence of cultural shocks, when encountering societies and cultures are representing very different value systems of art.
3) Introduction of non-mainstream artists and art groups:
Artworks created by individual artists have often been neglected in mainstream art history, for instance those works created by amateurs, demented artists, folk artists, aboriginal artists, etc. This subject is dedicated to the evaluation criteria of art works and art movements that have previously been underexplored.
4) The value of reproduction of artworks:
Reproduction of artworks affects artistic ideas, styles, and techniques throughout the history of art. The reproduction of artworks includes various forms such as imitation, copy, replica, orforgery. Postmodern paraphrasing and citation can be seen as a kind of reproduction. Reproduction of art is related to critical issues of Art History, such as the evaluation of originality and authorship.